Session Handout Zin Jam™ Session

Total Page:16

File Type:pdf, Size:1020Kb

Session Handout Zin Jam™ Session SESSION HANDOUT ZIN JAM™ SESSION Eric Aglia Zumba Jammer, USA [email protected] 2013 ZUMBA INSTRUCTOR CONVENTION SESSION HANDOUT Presenter Eric Aglia Schedule Introduction, Purpose and Format Warm Up and Preview Song Breakdown – Songs 1 and 2 ZIN Jam™ Program Key Points Networking Song Breakdown – Song 3 ZJ Tip Review and Cool Down Final Q&A and Thank You (Total: 2 hours) Session Objective Get the moves that get the crowds! Learn several new knockout routines to integrate into your Zumba® classes - superstar steps that will leave your students with a smile. Plus, network with fellow ZIN™ Members, get inspired and benefit from personal feedback - everything you need to be the best instructor you can be. History & Background Zumba® Fitness provides Zumba Instructor Network (ZINTM) Members with the tools that they need to be successful. One of the unique benefits of being a ZIN Member is receiving music and choreography on a regular basis. With each new ZIN Volume, you receive a music CD and a DVD which has two different sets of choreography: a one-on-one breakdown of moves and a demonstration of the song taught in its entirety, and a live class using the same music with totally different choreography. Music and choreography are two essential elements that make the Zumba Fitness program unique. The ZIN Volumes enhance your music collection with new rhythms and contribute to your Zumba Instructor toolbox of choreography ideas for your class. You may choose to use the choreography “as is,” modify the moves to accommodate the needs and abilities of your students, or create your own patterns. However you decide to use the ZIN music and choreography, be sure to add a bit of your own flavor and personality, to make it your own and connect it with your teaching style. Application of the Zumba® Formula Zumba® Fitness provides Zumba Instructor Network (ZIN™) Members with the tools that they need to be successful. One of the unique benefits of being a ZIN Member is receiving music and choreography on a regular basis through ZIN Volumes. However, with each new ZIN Mega Mix Volume, you receive a music CD with no choreography. ZIN Jam™ sessions give you choreography to these Mega Mix songs. Music and choreography are two essential elements that make the Zumba Fitness program unique. ZIN Jam™ sessions enhance your music collection with new rhythms and contribute to your Zumba Instructor toolbox of choreography ideas for your class. You may choose to use the choreography “as is” or use the modifications shown by the Zumba Jammer during the session. However you decide to use the ZIN music and choreography, be sure to add a bit of your own flavor and personality, to make it your own and connect it with your teaching style. Basic Steps & Variations Choreography in ZIN Jam™ Sessions uses Basic Steps and their variations as learned in Basic 1 and 2 Trainings. Track List Song Title Artist Rhythm Album/MM RUMBATONE BANDOLEROS RUMBA FLAMENCA/ MM28 REGGEATON SUEÑA DESIERTO ES ZUMBA FITNESS LATIN POP MM32 CARNAVAL FEVER WISIN & YANDEL REGGEATON MM30/ITUNES CRANK IT UP DAVID GUETTA & AKON HIP HOP ITUNES 2013 ZUMBA INSTRUCTOR CONVENTION Choreo Notes Choreography #1 SONG 1 TITLE: Rumbatone SPECIAL COMMENTS ABOUT SONG: ARTIST: Bandoleros RHYTHM: Rumba Flamenca/Reggaeton REMEMBER THIS IS A FUSION OF ALBUM: Mega Mix 28 REGGAETON AND FLAMENCA SONG LENGTH: 3:22 SONG PART CHOREOGRAPHY REPS ZIN MEMBER NOTES (TIME) A Flamenco Side w/Arm Variation 3x (0:00) Arms Hit Forward Hit Hit Krump It Out 1x Note for cueing: extend arms like shooting a bow & arrow B Travel Samba Cross Step Extended Diagonal Arms w/ Flamenco Wrist (0:10) Circles-Open Arms Turn Outside 1x Switch Lead Leg-Repeat C Flamenco Side w/Arm Variation (0:28) Step Front Front Jump Together Shimmy Body Roll 1x Switch Lead Leg-Repeat A REPEAT PART A 3x (0:37) 1x D Reggeaton stomp 2x (0:46) Jump Side 2x Punch Up-Shoulder Hit Hit 3x ea (ie: LRL) Arms Hit Front LR Hit Hit Krump It Out 2x Low-Step, Med-Hop to side, High-Jump & squat w/shoulder hit B REPEAT PART B 1x (1:05) C REPEAT PART C (1:23) 1x A REPEAT PART A 3x (1:32) 1x D REPEAT PART D 2x (1:42) A REPEAT PART A 3x ` (2:00) 1x D REPEAT PART D 1x (2:09) E Reggaeton Knee Lift 4x 4x (2:19) Step Out Squat w/Hammer Fists Down 2x each B REPEAT PART B 1x (2:37) Outro Flamenco Side-Reach One Arm Up (and it comes down and out to side) (2:55) Low Flamenco Side w/Clap, Med-Add Arms, High-Add Squat Out 2013 ZUMBA INSTRUCTOR CONVENTION Choreo Notes Choreography #2 SONG 2 TITLE: Suena Desierto Es Carnaval SPECIAL COMMENTS ABOUT SONG: ARTIST: ZUMBA FITNESS ADD THE PROGRESSIONS AS YOUR STUDENTS GET MORE AND RHYTHM: LATIN POP MORE COMFORTABLE ALBUM: Mega Mix 32 SONG LENGTH: 3:52 SONG PART CHOREOGRAPHY REPS ZIN MEMBER NOTES (TIME) Intro House Heel A Beto Shuffle 4x (:18) B Cumba F/B x 4 – Switch 4x (:33) Option: add a turn C Reggeaton stop L/R jump x 3 2x (1:03) Step front – Pull with arms-“Zumba” 1 A REPEAT PART A 4x (1:37) D House Heel 8x (1:53) 1. Low Impact- Step 2. Mid Impact- Add Jump 3. High Impact- Add Travel B REPEAT PART B 4x (2:25) C REPEAT PART C 4x (2:56) 1 End Hip Accents (Listen for the music) (3:41) 2013 ZUMBA INSTRUCTOR CONVENTION Choreo Notes Choreography #3 SONG 3 TITLE: FEVER SPECIAL COMMENTS ABOUT SONG: ARTIST: WISIN & YANDEL SHOW ME THE FUNK!!! RHYTHM: REGGEATON ALBUM: Mega Mix 30 ZJ TIP SONG LENGTH: 3:35 SONG PART CHOREOGRAPHY REPS ZIN MEMBER NOTES (TIME) A The Reject (House Shuffle) 2- 8 (0:00) counts B Squat Punch L/R Front-L/R-Down-L/R Front-L/R Down (0:08) Destroza Left 1x Switch Lead Leg-Repeat C Grapevine Crank it Arms-Hamstring Curl - “WHAT” (0:24) 1. Low Impact-Step w/Crank It Arms 4x 2. Med Impact-Add Booty Hit 3. High Impact-Add Jump D Hip Hop 2 Step/Cumbia F/B at Angle-Step Ball Change to Turn (0:40) 1. Low Impact-Feet On Floor 4x 2. Med Impact-Add Arms/Lift Base Leg 3. High Impact-Direction Variation Forward & Back B REPEAT PART B 1x (1:11) C REPEAT PART C 4x (1:26) D REPEAT PART D 4x (1:42) B REPEAT PART B 1x (2:13) C REPEAT PART C (2:28) 4x E Body Roll 8x Left-Body Roll 8x Right 1x (2:44) B REPEAT PART B (3:01) 4x C REPEAT PART C End (3:17) .
Recommended publications
  • METODI PER CHITARRA CLASSICA Things You Are, Fly Me to the Moon, Moon River, the Nearness of You, Stardust, When Sunny Gets Blue
    1 INDICE CATALOGO CHITARRA COME EFFETTUARE IL PAGAMENTO Indicazioni generali…………………. Pag. 1 - In contrassegno postale o con pagamento diretto al Ukulele …………………………… 2 postino; Chitarra Acustica & Jazz……………. 2 - Tramite Carta di Credito comunicandoci (via fax o Chitarra Elettrica………………….. 2 telefono) il numero della Vostra carta e la data di scadenza Basso Elettrico……………………. 2 - Con Bonifico Bancario, inviando tramite fax la ricevuta Chitarra Classica Metodi…………… 2 del pagamento. Contattateci per le coordinate. Chitarra Studi……………………… 5 - PayPal - Dopo la nostra conferma d’ordine inviare il Chitarra Antologie………………… 8 pagamento a [email protected] Chitarra Sola………………………. 15 Archivio A.Segovia……………….. 48 Due Chitarre………………………. 48 PREZZI Tre Chitarre……………………….. 53 Quattro Chitarre…………………… 55 - Tutti i prezzi sono comprensivi di I.V.A., possono subire Cinque o più Chitarre……………… 58 variazioni anche senza preavviso, e non sono Chitarra e Flauto Traverso………… 59 comprensivi delle spese postali. Chitarra e Flauto Dolce……………. 64 Chitarra e Oboe……………………. 64 Chitarra e Clarinetto………………. 64 SPESE DI SPEDIZIONE Chitarra e Violino………………….. 65 Chitarra e Viola……………………. 66 Chitarra e Violoncello……………… 66 Segnalate sempre nel Vostro ordine il tipo di spedizione: Chitarra e Pianoforte………………. 67 Chitarra e Voce……………………. 68 - € 11,00 - spedizione con Corriere Espresso. Tempo di Chitarra e Mandolino……………… 71 arrivo 2-3gg lavorativi. Pagamento contrassegno Concerti e Musica da camera………… 72 - Chitarra Barocca…………………… 76 - € 6,00 - spedizione con Poste Italiane. Tempo di arrivo 7- Chitarra Romantica Facsimili…… 77 10gg lavorativi. Pagamento contrassegno. Valido per Flamenco………………………….. 77 spedizione di plichi fino a 2 Kg. Libri Chitarra e Libri di Liuteria….. 80 - Riviste……………………………... 83 - € 7,00 con pagamento anticipato (ccpt postale, bonifico Spartiti con CD base…………………….
    [Show full text]
  • Groove in Cuban Dance Music: an Analysis of Son and Salsa Thesis
    Open Research Online The Open University’s repository of research publications and other research outputs Groove in Cuban Dance Music: An Analysis of Son and Salsa Thesis How to cite: Poole, Adrian Ian (2013). Groove in Cuban Dance Music: An Analysis of Son and Salsa. PhD thesis The Open University. For guidance on citations see FAQs. c 2013 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000ef02 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk \ 1f'1f r ' \ I \' '. \ Groove in Cuban Dance Music: An Analysis of Son and Salsa Adrian Ian Poole esc MA Department of Music The Open University Submitted for examination towards the award of Doctor of Philosophy on 3 September 2012 Dntc \.?~ ,Sllbm.~'·\\(~·' I ~-'-(F~\:ln'lbCt i( I) D Qt C 0'1 f\;V·J 0 1('\: 7 M (~) 2 013 f1I~ w -;:~ ~ - 4 JUN 2013 ~ Q.. (:. The Library \ 7<{)0. en ~e'1l poo DONATION CO)"l.SlALt CAhon C()F) Iiiiii , III Groove in Cuban Dance Music: An Analysis of Son and Salsa Abstract The rhythmic feel or 'groove' of Cuban dance music is typically characterised by a dynamic rhythmic energy, drive and sense of forward motion that, for those attuned, has the ability to produce heightened emotional responses and evoke engagement and participation through physical movement and dance.
    [Show full text]
  • Towards an Ethnomusicology of Contemporary Flamenco Guitar
    Rethinking Tradition: Towards an Ethnomusicology of Contemporary Flamenco Guitar NAME: Francisco Javier Bethencourt Llobet FULL TITLE AND SUBJECT Doctor of Philosophy. Doctorate in Music. OF DEGREE PROGRAMME: School of Arts and Cultures. SCHOOL: Faculty of Humanities and Social Sciences. Newcastle University. SUPERVISOR: Dr. Nanette De Jong / Dr. Ian Biddle WORD COUNT: 82.794 FIRST SUBMISSION (VIVA): March 2011 FINAL SUBMISSION (TWO HARD COPIES): November 2011 Abstract: This thesis consists of four chapters, an introduction and a conclusion. It asks the question as to how contemporary guitarists have negotiated the relationship between tradition and modernity. In particular, the thesis uses primary fieldwork materials to question some of the assumptions made in more ‘literary’ approaches to flamenco of so-called flamencología . In particular, the thesis critiques attitudes to so-called flamenco authenticity in that tradition by bringing the voices of contemporary guitarists to bear on questions of belonging, home, and displacement. The conclusion, drawing on the author’s own experiences of playing and teaching flamenco in the North East of England, examines some of the ways in which flamenco can generate new and lasting communities of affiliation to the flamenco tradition and aesthetic. Declaration: I hereby certify that the attached research paper is wholly my own work, and that all quotations from primary and secondary sources have been acknowledged. Signed: Francisco Javier Bethencourt LLobet Date: 23 th November 2011 i Acknowledgements First of all, I would like to thank all of my supervisors, even those who advised me when my second supervisor became head of the ICMuS: thank you Nanette de Jong, Ian Biddle, and Vic Gammon.
    [Show full text]
  • 2014-PS695-Smartinez3-Paper Sergio Martínez
    FLAMENCO MUSIC, my passion, my roots and my artistic passport. Culminating Experience Project Sergio Martínez, Madrid, Spain. Candidate to Masters degree in Contemporary Performance. Class of 2014 Berklee College of Music 1 CONTENTS 1. INTRODUCTION, Description of the project. 2. THE QUESTIONS, searching for targets 3. THE ANSWERS, solutions and conclusions 4. THE PROCESS, 4.1 The book and it’s process. Actual Status. 4.2 Creative exploration: The compositions, arrangements, exploration in improvisation and recording sessions. *Rhythmic concepts for arranging, composition, improvisation and performing. 5. REFERENCES. 6. APPENDIXES. 2 1. DESCRIPTION OF THE PROJECT This project is a unified work in which I have combined different approaches in the search of answers and conclusions. Research and investigation, documentation, edition, publication and a musical creative exploration process. It has been completed between September 2013 and July 2014. The tittle is “Flamenco Music, my passion, my roots and my artistic passport” and the common denominator in it is Flamenco Music and especially it’s Rhythms. The main areas of the work are a large “Research Process” combining looking for publications about Flamenco Music and an analytic reading of them. “Creative exploration” that includes composition, arrangement and recording of music pieces that have Flamenco Rhythms as an essential element. Starting a long term project that consists in creating a learning source in the form of three books, with the tittle “Fundamentals of Flamenco Rhythms and Flamenco Percussion” 3 The compilation presented in this project includes a revised draft of Book I. By the time of the graduation the work hasn’t found a via of publication yet.
    [Show full text]
  • Rumba Rebecca Bodenheimer
    Rumba Rebecca Bodenheimer LAST MODIFIED: 25 FEBRUARY 2016 DOI: 10.1093/OBO/9780199757824­0170 Introduction Along with the traditional dance genre son, the African­derived music and dance genre called rumba is widely considered to be the foundation of contemporary Cuban popular music. During the late 19th century it was the primary secular party music for poor black and racially mixed Cubans in western Cuba, and during the 20th century its musical features were incorporated into numerous popular genres, such as son, mambo, and salsa. Nonetheless, the literature on rumba does not include many in­depth studies, in Spanish or English. None of the pioneering scholars of Afro­Cuban culture gave much attention to rumba, as Fernando Ortiz and Lydia Cabrera focused primarily on Afro­Cuban sacred music. The little that has been written by these scholars, namely Ortiz and Alejo Carpentier, tends to overemphasize the “erotic” nature of the dance, thus reinforcing stereotypes about black culture. Nonetheless, as a member of Grupo Minorista—a group of poets, artists and composers founded in the 1920s who sought to valorize Afro­Cuban vernacular culture—Carpentier did view rumba as an important popular tradition. Among Cuban scholars writing after the Cuban Revolution, the primary in­depth studies of rumba have consisted of bachelor’s theses based on ethnographic research with rumba groups and one biography of important rumba musicians (see Musicians and Groups). There have also been articles on various aspects of rumba, and many Cuban scholars include discussions of the genre within sources on broader topics; the most significant examples of the latter are León 1984 (cited under History, Musical Features, and Musicians: History) and Urfé 1984 (cited under General Overviews and Reference Works).
    [Show full text]
  • Nuevo Flamenco: Re-Imagining Flamenco in Post-Dictatorship Spain
    Nuevo Flamenco: Re-imagining Flamenco in Post-dictatorship Spain Xavier Moreno Peracaula Submitted in fulfilment of the degree of PhD Newcastle University March 2016 ii Contents Abstract iv Acknowledgements v Introduction 1 Chapter One The Gitano Atlantic: the Impact of Flamenco in Modal Jazz and its Reciprocal Influence in the Origins of Nuevo Flamenco 21 Introduction 22 Making Sketches: Flamenco and Modal Jazz 29 Atlantic Crossings: A Signifyin(g) Echo 57 Conclusions 77 Notes 81 Chapter Two ‘Gitano Americano’: Nuevo Flamenco and the Re-imagining of Gitano Identity 89 Introduction 90 Flamenco’s Racial Imagination 94 The Gitano Stereotype and its Ambivalence 114 Hyphenated Identity: the Logic of Splitting and Doubling 123 Conclusions 144 Notes 151 Chapter Three Flamenco Universal: Circulating the Authentic 158 Introduction 159 Authentic Flamenco, that Old Commodity 162 The Advent of Nuevo Flamenco: Within and Without Tradition 184 Mimetic Sounds 205 Conclusions 220 Notes 224 Conclusions 232 List of Tracks on Accompanying CD 254 Bibliography 255 Discography 270 iii Abstract This thesis is concerned with the study of nuevo flamenco (new flamenco) as a genre characterised by the incorporation within flamenco of elements from music genres of the African-American musical traditions. A great deal of emphasis is placed on purity and its loss, relating nuevo flamenco with the whole history of flamenco and its discourses, as well as tracing its relationship to other musical genres, mainly jazz. While centred on the process of fusion and crossover it also explores through music the characteristics and implications that nuevo flamenco and its discourses have impinged on related issues as Gypsy identity and cultural authenticity.
    [Show full text]
  • LA RUMBA CRIOLLA EN EL FOLCLOR FRESNENSE Elaborado
    LA RUMBA CRIOLLA EN EL FOLCLOR FRESNENSE Elaborado por: JUAN CARLOS MIRANDA MARIA BEATRIZ PEÑA DE ARBELAEZ MARIA ORFFA VALENCIA SALAZAR SALVIA AMPARO ORDÓÑEZ DE RONDAN Docentes investigadores Especialistas en Educación en Arte y Folclor Universidad El Bosque Fresno, 1999 1. PRESENTACION Fresno posee orgullosamente un enorme legado musical y coreográfico: LA RUMBA CRIOLLA. Este ritmo y baile reconocido y valorado a nivel nacional e Internacional ostenta el rótulo de: "hecho en Fresno". Sin embargo, la nueva generación fresnense desconoce o subvalora la Rumbo Criolla. Por esto, hemos elaborado esta publicación en donde se recogen todos los aspectos relacionados con éste ritmo de manera que los docentes y distintos entes promotores de la cultura, puedan tener una herramienta completa para comunicar a los jóvenes y la población de Fresno en general de manera que se logre fomentar y conservar lo Rumbo Criolla como elemento de Identificación coreografías del folclor fermentes. 2. OBJETIVOS Motivar a las instituciones educativas para que conserven y fomenten en las nuevas generaciones La “rumba criolla” y como expresión coreográfica y musical del folclore fresnense. Exaltar la vida y obra musical de un hijo de Fresno: Milciades Garavito Wheeler, creador de la Rumba Criolla 3. EL FOLCLOR FRESNENSE El folclor de esta región del Norte del Tolima y especialmente de Fresno está d definitivamente enmarcado dentro de los parámetros de la zona paisa y con un gran peso de lo campesino porque este pueblo ha sido eminentemente rural. La corriente venida de Antioquia trae sus costumbres, saberes y expresiones musicales y dan císticas a al vez que toda una riqueza de oralidad en lo referente a leyendas, cuentos, etc.
    [Show full text]
  • Iniciación Al Flamenco
    “JORNADA DE INTERCAMBIO DE EXPERENCIAS EN EDUCACIÓN FÍSICA” INICIACIÓN AL FLAMENCO Isabel del Caño Hernández 3 de mayo de 2013 INDICE 1. QUÉ ES EL FLAMENCO 2. ORIGEN Y EVOLUCIÓN 3. ELEMENTOS: CANTE – TOQUE – BAILE 4. PALOS o estilos FLAMENCOS 5. EL BAILE FLAMENCO 5.1 MOVIMIENTOS PRINCIPALES 5.2 PASOS BÁSICOS 5.3 ESTRUCTURA BÁSICA DE LOS BAILES 6. ORIENTACIONES PEDAGÓGICAS 6.1 PARA EL COMPÁS. 6.2 PARA EL BAILE 7. ARTISTAS FLAMENCOS 8. VOCABURALIO BÁSICO 9. PÁGINAS WEB DE INTERÉS 2 1. QUÉ ES EL FLAMENCO Original de Andalucía, el flamenco es el resultado de un mestizaje cultural: gitano, árabe, cristiano y judío. Es espejo y testimonio de numerosos siglos de vida española. El flamenco llega a nuestros días como el arte o manifestación cultural del pueblo andaluz que se expresa a través del cante, el toque y el baile. Conocido por su gran intensidad emocional, el flamenco se distingue por sus movimientos de brazos, zapateos, profundos cantes y rasgueos de guitarra. Destacamos dos particularidades especiales: - Expresión y comunicación de las experiencias y los sentimientos - Música con ritmos muy marcados, con carácter. Hoy en día el flamenco se aprecia y practica en todo el mundo. En 2010 la Unesco declaró el flamenco Patrimonio Cultural Inmaterial de la Humanidad. Fernando Barros Lirola lo define así al flamenco: “Es el resultado de la fusión de la música vocal, el arte de la danza y el acompañamiento musical, denominados respectivamente cante, baile y toque”. 2. ORIGEN Y EVOLUCIÓN ORIGEN Nació en Andalucia, (raíz folclórica), más concretamente en el triángulo formado por Cádiz, Jerez de la Frontera y Sevilla.
    [Show full text]
  • Clarinet to Flamenco
    Course: CA1004 Degree project 30 Credits 2020 Master of Musical Performance Kungliga Musikhögskolan Supervisor: Sven Åberg Examiner: Katarina Ström-Harg Alejandro Lobato Juan Classical to Flamenco Clarinet How to approach Flamenco from a classical perspective? Written reflection within degree project The sounding part consists of the following recording: Classical to Flamenco ABSTRACT - SUMMARY About three years ago I started developing a project from Classical to Flamenco music with the clarinet as the main voice. There is a mix of music with basically two styles in the project in a concert form. I approached a new style that was not mine, and with some work of exploration I have been learning how to play and connect with it from a classical perspective into the flamenco style and tradition. This work is based on research of the tradition. I have been exploring the history of this art to understand how it has evolved and the main characteristics. After this, I looked for classical musicians who started to learn flamenco and got some inspiration for my project. The last part is the action phase, where I started to make the project real and what the process looked like. This work concludes with the results of the practical part and a discussion about how I would like to develop this project in the future. Keywords: Classical Music. Flamenco. Clarinet. Concert. Project. Table of Contents 1) INTRODUCTION ..................................................................................... 4 PERSONAL NOTE ............................................................................................... 4 PURPOSE OF THE WORK ................................................................................... 6 PREVIOUS EXPERIENCE WITH FLAMENCO ......................................................... 6 2) DEVELOPMENT - FLAMENCO HISTORY AND LISTENING EXPERIENCE ..... 8 BACKGROUND OF FLAMENCO........................................................................... 8 YEARS OF FLAMENCO ......................................................................................
    [Show full text]
  • Flamencosound.Com Matériel Didactique
    Catalogue généré le 22/03/2011 Si buscas música flamenca, video o DVD, por favor visita: flamencoSound.com Matériel didactique ............................................................................................................................................................. 2 CD´s didactiques ............................................................................................................................................................... 2 Cours pour Débutants ..................................................................................................................................................... 83 DVD & Vidéos didactiques ............................................................................................................................................. 100 Livres ............................................................................................................................................................................ 237 Manuel Salado: Danse Flamenco, Guitare Flamenca et Claquettes .............................................................................. 323 Metronome .................................................................................................................................................................... 347 Oscar Herrero ................................................................................................................................................................ 353 Partitions ......................................................................................................................................................................
    [Show full text]
  • Antropología Y Música. Diálogos 4> Pensar El Flamenco Desde Las
    -3-1 Revista Internacional № 6. Año 2005 Actas del Coloquio Internacional «Antropología y Música. Diálogos 4> Pensar el Flamenco desde las Ciencias Sociales JTJT1TR DE RTIÜ ALUCIA Consejería de Cultura Centro de Documentación Musical de Andalucía Presidente y Fundador REYNALDO FERNÁNDEZ MANZANO Director MANUEL LORENTE RIVAS Presidente del Consejo de Redacción JOSÉ ANTONIO GONZÁLEZ ALCANTUD Consejo de Redacción ÁNGEL MEDINA MOHAMED METALSI JOSEP MARTÍ MANUEL LUNA ESTEBAN VALDIVIESO DAVID COPIAN SUSANA ASENSIO REYNALDO FERNÁNDEZ MANZANO JOSÉ ANTONIO GONZÁLEZ ALCANTUD MANUEL LORENTE RIVAS MARTA CURESES MANUELA CORTÉS STEVEN FELD CARMELO LISÓN TOLOSANA JOSÉ MANUEL GAMBOA Secretaria del Consejo de Redacción MARTA CURESES Secretaría Técnica ISABEL SÁNCHEZ OYARZÁBAL CARLOS ARBELOS Diseño JUAN VIDA Fotocomposición e impresión LA GRÁFICA, S.C.AND. GRANADA Depósito Legal: GR-487/95 I.S.S.N.: 1138-8579 Edita © JUNTA DE ANDALUCÍA. Consejería de Cultura. El flamenco en los Estados Unidos: el mestizaje o la obsolescencia. Jaime Fatás Cabeza Profesor de composición musical. USA. Cualquier artista que se plantee la transmisión de su trabajo de una manera dialógica1, como interfase que favorece el flujo de la comunicación entre él mismo y la audiencia, incorpora o elimina elementos que, aunque no formen parte del legado canónico, merez­ can, por su interés intrínseco o circunstancial, la inclusión o exclusión en el repertorio. Esta estrategia es particularmente apropiada y necesaria cuando el artista se presenta más allá de su región de origen. El flamenco no es excepción: cuando se encuentra fuera de su marco natural, muchos artistas eliminan de su repertorio algunos de los aspectos más difíciles, o incorporan, consciente o inconscientemente, elementos no autóctonos -con más o menos acierto o éxito, más o menos fieles a la tradición- con la intención de hacer más asequible o "acercar" su trabajo a los nuevos destinatarios.
    [Show full text]
  • Téléphone: (0034) 91 5427251 - Nous Exportons Le Flamenco Au Monde Entier
    - momentos cumbre (los grandes maestros del arte flamenco) Téléphone: (0034) 91 5427251 - Nous exportons le Flamenco au monde entier. - Chansons: Disco 1 1. Tiene el color cetrino - El Turronero (Bulerias) 2. Nunco yo había pensao - Antonio Mairena (Seguiriyas jerezanas) 3. Alegrías de Cádiz - Rancapino 4. Soleares de la serneta de Utrera - Fernanda de Utrera 5. Entre Valverde y Huelva - Camarón de la Isla (Fandangos) 6. Cantiñas de Utrera - Bambino (Farruca-rumba) 7. Fiesta utrerana - Bernarda de Utrera 8. De Sanlúcar a Cádiz - Sordera de Jeréz (Bulerías por soleá) 9. Jaleos gitanos - Juan Cantero 10. Homenaje a Jerez - Rafael Romero (Caña) 11. A mis amigos - Juan Talega (Martinete) 12. Casa montero - La Piriñaca (Bulería) 13. Te ví en un llano - Agujeta de Jeréz (Bulería por soleá) 14. Por Dios, que me den la espuela - Agujeta del Viejo (Tarantos de Manuel Torre) 15. Quemarme mi ropa - Antonio Agujeta (Seguiriyas) 16. Ábreme la puerta, peña - El Chaqueta (Tangos) 17. Recuerdo a la Moreno - Manolo Caracol (Bulería por soleá de María la Moreno) 18. Y de cazalla aguardiente - Beni de Cádiz 19. En el mercado - "El Moro" (Miguel el Rubio-Fernándo Gálvez y Adela La Chaqueta) Pregón Festero DISCO 2 1. Aunque es de noche - Enrique Morente (Tangos) 2. Ojos verdes - Porrina de Badajoz (Canción por bulerías) 3. Llora una cartagenera - Juanito Varea (Cartagenera) 4. Aunque murmure la gente - El Chocolate (Seguiriyas) 5. No la pintan los pintores - Pepe Pinto (Fandangos) 6. Trigo limpio - Emilio "El Moro"(Parodia) 7. En los pueblos de mi Andalucía - Niña de la Puebla (Campanilleros) 8. Una farruca en Galicia - Jacinto Almadén (Farruca) 9.
    [Show full text]